Composer: Stefania de Kennesy
Works: Sunburst (1993), Beating Down (1995); Nancy Bloomer Deussen: Two Pieces for Violin and Piano (1990), Trio for Violin, Cello and Piano (1993); Beth Anderson: Trio: Dream in d (1980), Net Work (1984)
Performers: Mary Kathleen Ernst (piano), Teri Lazar (violin), Marcio Botelho (cello)
Recording: Harmony Hall, Fort Washington, MD, May 1995
Label: North/South Recordings R 1015
Stefania de Kennesy’s contributions to the modern classical landscape, particularly through her works “Sunburst” and “Beating Down,” reveal a composer deeply entrenched in a tonal tradition that paradoxically evokes the early 20th-century aesthetic while firmly establishing her voice within a contemporary framework. Composed in the early 1990s, these pieces reflect her academic lineage—studying under Milton Babbitt—yet diverge significantly from the avant-garde explorations of her mentor. Instead, they embrace a melodic accessibility that often flirts with nostalgia, particularly evident in the vibrant textures of “Sunburst,” which showcases not only technical prowess but also a rich harmonic palette.
The performances captured in this recording exhibit a commendable synergy among the musicians. Mary Kathleen Ernst’s piano work in “Sunburst” is particularly striking; her deft articulation of rapid passages juxtaposed with lyrical phrases creates a compelling narrative arc. The interpretative choices made during the performance, especially the subtle rubato, lend a sense of spontaneity to the piece, enhancing its emotive resonance. “Beating Down,” while more traditional and structurally conservative, is executed with precision by the trio, demonstrating a strong adherence to the composer’s intentions while allowing for an organic flow that keeps the listener engaged.
Nancy Bloomer Deussen’s works, notably “Two Pieces for Violin and Piano” and the “Trio for Violin, Cello and Piano,” resonate with an English pastoral charm reminiscent of composers like John Ireland. The performers navigate the lyrical lines with sensitivity, employing a warm tone quality that complements the rich harmonic undercurrents. Teri Lazar’s violin playing stands out for its expressive phrasing, particularly in the second movement of the “Piano Trio,” where her melodic lines weave seamlessly with Botelho’s cello, creating a lush dialogue that honors the composer’s intent.
Beth Anderson’s “Trio: Dream in d” and “Net Work” introduce a more minimalist approach, particularly in the latter, which features repetitive motifs that evoke a sense of meditative reflection. The ensemble’s interpretation here is commendable, as they effectively balance the minimalist patterns with the more fluid lines present in “Dream in d.” The recording captures the intricate interplay among the instruments, allowing the nuanced textures of Anderson’s music to shine through. The sound quality is pristine, with an acoustic balance that respects the natural resonance of the performance space, a testament to North/South Recordings’ engineering.
The exploration of these works offers a fascinating glimpse into the transitions and continuities in contemporary classical music. While the tonal language and traditional forms might suggest a kind of retrograde response to the avant-garde, the sincerity and craftsmanship of these composers affirm their relevance. Although some listeners may find these compositions lacking in innovative edge, the emotional depth and clarity of expression present in the performances merit appreciation. This release stands as a testament to the enduring power of melody and structure in the face of modern complexity, inviting audiences into a world where musical simplicity is not synonymous with superficiality. The overall experience is one of thoughtful engagement, rewarding those who appreciate the art of well-crafted, heartfelt music.
